Emmett's like you; he doesn't enjoy the suspense in horror films. Just not pleasurable to him.
I'm writing a piece on early sixties horror movies, specifically The Haunting, The Innocents, Carnival of Souls, Night Tide & Eyes Without a Face. I'll also touch on several other key horror movies from '60-'63: Black Sunday (Bava), Brides of Dracula (Hammer), Psycho, Haunted Palace (Corman/Vincent Price), Fall of the House of Usher (Corman/Price/Poe) and Burn, Witch Burn (based on Fritz Leiber's Conjure Wife).
But the movies I'm focusing on constitute a different tradition. Stephen King specifically cites The Haunting as a movie which deals in Terror instead of Horror (which by his taxonomy involves something disquieting happening to the physical body) or Revulsion (aka, The Gross Out).
All of the movies I'm looking at derive from a combination of Val Lewton's RKO films (Cat People etc.), Cocteau's surreal dream films and the psychological ghost story of "The Turn of the Screw" (The Innocents is an adaptation of the Henry James.)
They're also very much about female identity, the fear (and also attraction) of losing one's self. (I'm thinking of titling it: "I, Without a Face.")
no subject
I'm writing a piece on early sixties horror movies, specifically The Haunting, The Innocents, Carnival of Souls, Night Tide & Eyes Without a Face. I'll also touch on several other key horror movies from '60-'63: Black Sunday (Bava), Brides of Dracula (Hammer), Psycho, Haunted Palace (Corman/Vincent Price), Fall of the House of Usher (Corman/Price/Poe) and Burn, Witch Burn (based on Fritz Leiber's Conjure Wife).
But the movies I'm focusing on constitute a different tradition. Stephen King specifically cites The Haunting as a movie which deals in Terror instead of Horror (which by his taxonomy involves something disquieting happening to the physical body) or Revulsion (aka, The Gross Out).
All of the movies I'm looking at derive from a combination of Val Lewton's RKO films (Cat People etc.), Cocteau's surreal dream films and the psychological ghost story of "The Turn of the Screw" (The Innocents is an adaptation of the Henry James.)
They're also very much about female identity, the fear (and also attraction) of losing one's self. (I'm thinking of titling it: "I, Without a Face.")